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- Brit-pop broadband
- Brit-flop broadband
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It’s a big, bold and yes, unabashedly beautiful metro-sexual modern rock lighter waiver that’s aimed at giving fans of Coldplay exactly what they’ve always craved. No not a soundtrack to committing suicide. Instead, an unambiguously romantic set of Valentine’s Day love letters destined to be played at marriage proposals, wedding receptions, baby showers, birthdays….okay, you get the idea.
Wait up. You mean South Africa’s Coldplay wannabes have stopped recycling one hit wonders like “Here Comes The Man” or Koos classics like “Lisa se Klavier” and actually found their own flow? Yep. Make no mistake, sensitive piano ‘n string chamber pop come-ons (“Baby Be Mine”) and breezy Brit-rock hummables about breaking up, making up (“Giant Mistake”) and feeling all gooey about seizing the day (“Play On”) still wear the Brit-pop chart polish of Keane, Snow Patrol and The Verve.
Thanks to Theo Crous’ ballsy production though, these are invariably now road maps rather than cul-de-sacs. “I’m Only Human”, “Dance” and “Window Shopper” are all surprisingly edgy indie-disco jammers that you could easily imagine Bravery and Interpol converts shaking their skinny jean-clad asses to.
- Miles Keylock
- Brit-pop broadband
- Brit-flop broadband
Back to review
It’s a big, bold and yes, unabashedly beautiful metro-sexual modern rock lighter waiver that’s aimed at giving fans of Coldplay exactly what they’ve always craved. No not a soundtrack to committing suicide. Instead, an unambiguously romantic set of Valentine’s Day love letters destined to be played at marriage proposals, wedding receptions, baby showers, birthdays….okay, you get the idea.
Wait up. You mean South Africa’s Coldplay wannabes have stopped recycling one hit wonders like “Here Comes The Man” or Koos classics like “Lisa se Klavier” and actually found their own flow? Yep. Make no mistake, sensitive piano ‘n string chamber pop come-ons (“Baby Be Mine”) and breezy Brit-rock hummables about breaking up, making up (“Giant Mistake”) and feeling all gooey about seizing the day (“Play On”) still wear the Brit-pop chart polish of Keane, Snow Patrol and The Verve.
Thanks to Theo Crous’ ballsy production though, these are invariably now road maps rather than cul-de-sacs. “I’m Only Human”, “Dance” and “Window Shopper” are all surprisingly edgy indie-disco jammers that you could easily imagine Bravery and Interpol converts shaking their skinny jean-clad asses to.
- Miles Keylock
